The Everly Brothers ‎– The Very Best Of The Everly Brothers (LP 1964)

 

 
The Everly Brothers ‎– The Very Best Of The Everly Brothers (LP Warner Bros. Records ‎– WS 1554, 1964).
Producer: Archie Bleyer.
Genre: Pop / Rock.
The Very Best of the Everly Brothers ‘ was one of the first compilations of successes of the American duo of pop / rock, The Everly Brothers .
Launched in 1964, the album features six re-recordings of hits that were originally recorded in Cadence Records (former duo record) and six hits from Warner Bros., recorded in Nashville, Tennessee.
This is an edited album when the Everly brothers already in the Warner label. This wanted to capitalize on past the previous record label, Cadence Records and the result was this LP, ” The Very Best Of The Everly Brothers ” who presented Don and Phil with remakes of 6 classic previously released, along with six large recordings already in the Warner Bros . The 6 rewrites are “Wake Up Little Suzie”, “Bye Bye Love”, “” Bird Dog “,” ( ‘Til) I Kissed You “,” All I Have To Do Is Dream “and” Devoted to You “.
The duo consisted of Don Everly (February 1, 1937, Brownie / Kentucky) and Phil Everly (January 18, 1939, Chicago / Illinois – January 3, 2014), both rock and roll musicians influenced music country and have achieved great success in the 50s and 60s, having been separated in 1973. the Everly brothers were a strong influence on pop / uS rock groups. The Stone magazine ranked them in position No. 33 of the 100 greatest artists of all time.
The sounds and harmonies of Don and Phil Everly (Everly the brothers), are excellent and sublime. The pair had a first-line support team, from the producer Archie Bleyer, the great Nashville studio musicians as Chet Atkins and the brilliant team of composers Boudleaux and Felice Bryant. Don and Phil occasionally also wrote great songs.
This album shows them playing a dozen great songs that will forever be associated with them.
The biography of the Everly Brothers is already inserted this blog.
Tracks / Tracklist:
A1 – Bye Bye Love (B. Bryant, F. Bryant) 2:15
A2 – (‘Til) I Kissed You (Don Everly) 2:22
A3 – Wake Up Little Susie (B. Bryant, F. Bryant) 2:00
A4 – Crying In The Rain (King, Greenfield) 1:59
A5 – Walk Right Back (Sonny Curtis) 2:18
A6 – Cathy’s Clown (Don Everly, Phil Everly) 2:22
B1 – Bird Dog (Boudleaux Bryant) 2:14
B2 – All I Have To Do Is Dream (Boudleaux Bryant) 2:19
B3 – Devoted To You (Boudleaux Bryant) 2:22
B4 – Lucille (Collins, Penniman) 2:29
B5 – So Sad (To Watch Good Love Go Bad) (Don Everly) 2:30
B6 – Ebony Eyes (John D. Loudermilk) 2:54
Bonus:
C1 – Love Hurts (Felice Bryant and Diadorius Boudleaux Bryant) 2:23

Deep Purple ‎– Deep Purple (LP 1969)

 

 
 
Deep Purple ‎– Deep Purple (LP Harvest ‎– SHVL 759, 01 Nov 1969).
Producer – Derek Lawrence.
Genre: Rock, Hard Rock, Psychedelic Rock, Prog Rock.
Deep Purple ” is the third studio album by British hard rock band Deep Purple , released in 1969 in the UK and other countries. The album was released during an internal crisis that culminated with the departure of vocalist Rod Evans and bassist Nick Simper.
Despite the resounding success in the United States, the group could not achieve great success in their homeland. According to some experts, the British could not accept the psychedelic sound mezzo, mezzo bluesy quintet. On the album “Deep Purple”, the band members clearly established as composers, presenting only one version / cover, the theme “Lalena” (Donovan), with interpretation of Rod Evans and with an exciting solo Jon Lord. The remaining songs are fantastic, authentic travel by progressive.
Deep Purple is a British rock band formed in Hertford, Hertfordshire, in 1968. At the beginning, the group has performed in the United States just as the artist Chris Curtis companions. The first training, which released three little impact discs ( “Shades of Deep Purple”, “Book of Talyesin” and “Deep Purple”) featured vocalist Rod Evans, guitarist Ritchie Blackmore, bassist Nick Simper, drummer Ian Paice and keyboardist Jon Lord.
In 1969, they decided to change the musical direction of the band, inviting vocalist Ian Gillan and bassist Roger Glover and simultaneously sought a style that blends classical European music to hard rock that emerged in England by bands as The Yardbirds and Led Zeppelin .
The band went through several changes in its formation, and a gap of eight years (1976-1984). His second training, the most successful commercially, featured Ian Gillan (vocals), Ritchie Blackmore (guitar), Jon Lord (keyboards), Roger Glover (bass) and Ian Paice (drums). This training was in 1969 to 1973. activity were pooled between 1984 and 1989 and later in 1993.
The mark of the band has always been a mixture of guitar and keyboard, simple and strong riffs and vigorous soils. His best known song is “Smoke on the Water”, recorded in December 1971.
The biography of this band is already inserted this blog.
Tracks / Tracklist:
A1 – Chasing Shadows (Ian Paice, Jon Lord) 5:34
A2 – Blind (Lord) 5:26
A3 – Lalena (cover de Donovan) (Donovan Leitch) 5:05
A4.a – Fault Line (Ritchie Blackmore, Nick Simper, Lord, Paice) 1:46
A4. b – The Painter (Blackmore, Rod Evans, Lord, Simper, Paice) 3:51
B1. Why Didn’t Rosemary? (Blackmore, Evans, Lord, Simper, Paice) 5:04
B2. Bird Has Flown (Lord, Evans, Blackmore) 5:36
B3. April (Blackmore, Lord) 12:10
Musicians / Personnel:
Rod Evans – vocalista
Ritchie Blackmore – guitarra solo
Nick Simper – bass, voice support
Jon Lord – keyboards, backing vocals
Ian Paice – bateria

It’s Dance Time

01  The 81 – Candy & The Kisses
02  Follow Your Heart – Bunny Sigler
03  Envy (In Your Eyes) – Orlons
04  Memories – Scott Brothers
05  Here She Comes Walkin Down The Street – Tymes
06  Stop – Rodie Joy
07  I’ll Do Anything – Doris Troy
08  Hearts Are Trump – Dovells
09  Packing Up My Memories – Stylettes
10  Everything’s Wrong – Chubby Checker
11  Standing In The Need Of Love – Dee Dee Sharp
12  The One Who Really Loves You – Bobby Rydell
13  Decatur Street – Patti Labelle
14  Stop And Listen – Shirley Vaughn
15  A Sad Goodbye – Four Exceptions
16  Sunny Sunday – Bunny Sigler
17  I’m Just A Fool For You – Betty Lavette
18  Monkey Do – Tempos
19  Let Them Love And Be Loved – Jo Ann King
20  I Got A Love – Sonny Richards Panics
21  So What – Ray Rush
22  SOS – Christine Cooper
23  Makin’ Up Is Fun To Do – Tina Powers
24  We Were Lovers – Sandra Barry
25  We Belong Together – Honey Love
26  Jealous Heart – Spaniels
27  Operator – Lee Andrews
28  Groovy Baby – Billy Abbott

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Johnny And The Hurricanes ‎– Stormsville (1960)

One of the most distinctive instrumental groups of the ’50s and ’60s, Johnny & the Hurricanes produced the Top Ten hit “Red River Rock” and scored several other instrumental hits that mixed rock & roll with traditional melodies. Originally known as the Orbits, the group formed in Toledo, OH, in 1958 and was led by saxophonist Johnny Paris; other members included organist Paul Tesluk, guitarist Dave Yorko, bassist Lionel “Butch” Mattice, and drummer Tony Kaye. After a stint recording with rockabilly singer Mack Vickery, the group traveled to Detroit, hoping to become a backing band for up-and-coming singers. However, a pair of music promoters, Harry Balk and Irving Michanik, signed them as a group on their own, and they recorded their first single, “Crossfire,” for the Twirl label in 1959. “Crossfire” went to number 23 and the group moved to the Warwick imprint for “Red River Rock,” a rock & roll instrumental of the standard “Red River Valley” that peaked at number five. The Hurricanes responded to their success with more of the same, delivering “Reveille Rock,” “Rockin’ Goose,” “Revival,” and “Beatnik Fly” over the next year, touring extensively all the while. Eventually the pace — and lack of further hit singles — caught up with the group, and Johnny & the Hurricanes disbanded in 1965. Paris moved to Hamburg, started his own label, Atila, and in 1970 formed a new Hurricanes lineup that toured until November 2005, two weeks before Paris took ill and was hospitalized. He died on May 1, 2006, due to pneumonia and septic blood after a splenectomy.

The Crystals – Twist Uptown (1962)

 Among aficionados of the girl group sound, there can’t be five acts more beloved than the Crystals. Their best-known songs, which include “He’s a Rebel,” “Uptown,” “Da Doo Ron Ron,” “Then He Kissed Me,” and “There’s No Other Like My Baby,” are among the finest examples of the best that American rock & roll had to offer in the period before the British Invasion; and decades into the CD era, the group’s records are still prized in their original vinyl pressings even by non-collectors, who seem to recognize that there was something special about the Crystals’ work. The group was originally a quintet consisting of Barbara Alston (born 1945), Dee Dee Kennibrew (born 1945), Mary Thomas (born 1946), Patricia Wright, and Myrna Gerrard, organized by Benny Wells while they were still in high school. All of whom had started out singing in churches; Barbara Alston was Wells’ niece, and although she later became known as their lead singer on many of their records, Alston was actually recruited as a backup singer by her uncle. Under Wells’ guidance, they began performing in more of a pop vein, and one of the gigs that they got was cutting demos for the publisher Hill & Range, which brought them to the Brill Building in midtown Manhattan. It was there, while they were rehearsing, that they chanced to be heard by Phil Spector, who at that time was just starting up his own label, Philles Records. He was in the market for new talent and the Crystals — who, by that time, had lost Gerrard and added La La Brooks to their lineup as lead singer — were just what he was looking for, sort of. He liked their sound and their range, but he didn’t initially like Brooks’ voice and insisted on Alston taking the lead, somewhat reluctantly on her part.

In September of 1961, the slightly reconfigured group cut their first hit, “There’s No Other Like My Baby,” which rose to number 20 nationally. It was a promising beginning, putting the group, Spector, and his new label on the map; although another song cut at about the same time, “Oh, Yeah, Maybe, Baby” (which featured Patricia Wright on lead), pointed the way to the group’s future, with its understated yet boldly played string accompaniment. In early 1962, the Crystals recorded a Barry Mann/Cynthia Weil song called “Uptown,” using an arrangement that was a tiny bit lighter on the percussion (except for castanets, of which it had many) but pushed the guitar and the strings out in front more than “Oh Yeah, Maybe, Baby” had. Barbara Alston’s strong-yet-sensuous vocals enunciated lyrics that were as steeped in topical subject matter, especially about the frustrations of life in the ghetto, as they were in romance. This gave “Uptown” a subtly two-pronged appeall; it was a gorgeous pop record, but also a new kind of pop record, eminently listenable yet serious in its subtext. No, it wasn’t “Blowin’ in the Wind,” but it seemed to evoke a social realism that heretofore eluded the pop charts. “Uptown” reached number 13 nationally. Its production marked a major step forward in the making of rock & roll singles in its production, and heralded a newer, bolder era in pop music and R&B, very much of a piece with such hits as the Drifters’ “Up On the Roof,” but with an undercurrent of frustration that the latter song lacked; it all pointed the way toward the more sophisticated and socially conscious kind of songs that Sam Cooke would soon be generating.

It was at this point, in the wake of “Uptown,” that the history of the Crystals gets a little more complicated. It wasn’t until June of 1962 that they had another single ready to go, and it engendered all kinds of problems that “Uptown” had avoided. If that song had gotten a serious lyric across with an elegant and quietly passionate setting, “He Hit Me (It Felt Like a Kiss)” (co-authored by Carole King and Gerry Goffin, no less) was the reverse, presenting a disturbing lyric about infidelity and the physical abuse of a woman by a man, in a dark, ominous manner. Barbara Alston and company gave it everything they had, and Spector came up with a surprisingly subtle, bolero-like arrangement, but it was a lost cause. Radio stations simply wouldn’t play it, and the public didn’t like the song, period; according to Barbara Alston, the group didn’t like it either, and to this day nobody understands exactly what was in Spector’s mind when he cajoled them into cutting it.

The following month, Spector was back in the studio running another Crystals session, except that this time it wasn’t really the Crystals that he was recording, but Darlene Love. As the owner of the Crystals’ name and, as their producer, possessing the right to record anyone he wanted (or anything he wanted) and label it as being from “the Crystals,” he decided to forego any further battles over who should sing lead, and forego using the group entirely for “He’s a Rebel.” A celebration of street-level machismo like no other, it was an upbeat number with gorgeous hooks and, with none of the baggage of its failed predecessor, became a number one hit, as well as engraining itself in pop culture history as a quintessential girl group classic. Darlene Love was the lead singer on the next hit by “the Crystals,” “He’s Sure the Boy I Love,” as well.

It wasn’t until early 1963 that the group again sang on one of their own records, “Da Doo Ron Ron,” and by that time, Spector had accepted La La Brooks in lieu of Alston as lead singer. That record rose to number three in America and became their second biggest British hit, reaching the number five spot in the U.K. That placement, along with the U.K. number two position for “Then He Kissed Me” (which also got to number six in America), was very important, because at the time a lot of major British bands were about to break onto the charts at home, before coming to dominate American music a year later. “Da Doo Ron Ron” and “Then He Kissed Me” became among the most popular American rock & roll songs of the period in England, covered by all manner of acts on-stage and on-record.

the Crystals were in a seemingly enviable position, except for the fact that they and Spector were increasingly at odds over what he was doing with them. They’d been unhappy from the time when Spector began using their name on behalf of records made by Darlene Love, and every time they were obliged to perform those songs on-stage it grated against them, and in 1963 they were almost constantly touring and performing. By 1964, they also perceived Spector’s growing inattention; he had lately discovered a girl trio called the Ronettes on whose music and lead singer, Veronica Bennett, he was lavishing ever more of his time and energy. Meanwhile, the Crystals were making good and interesting songs, such as the beautiful “Another Country, Another World,” “Please Hurt Me,” and “Look in My Eyes,” the latter a bluesy ballad that showed a side of their sound that Spector seldom tried to explore. The group had released two LPs hooked around their major hits, Twist Uptown and He’s a Rebel, in 1962 and 1963, respectively, that had some good songs on them, but Spector’s attention and enthusiasm was increasingly directed elsewhere. Spector’s seeming dismissive attitude toward the group may have been best illustrated by the most bizarre record with which he, the group, his label, or almost anyone else in the music business had ever been associated: “(Let’s Dance) The Screw.”

Spector had never been one to keep business partners very long — in that regard, he was a lot like the movie mogul Samuel Goldwyn — and in 1964, he’d settled a lawsuit against Lester Sill, the man with whom he’d started the Philles label. As a parting shot at Sill — and, it is rumored, to fulfill the terms of a settlement that required him to pay a share of the proceeds from the next Crystals single — he devised an otherwise un-releasable single that Philles pressed, called “(Let’s Dance) The Screw.” On it, Spector talked the lyrics while the Crystals sang backup, in a five-minute musical joke that is also one of the rarest records of the 1960s (supposedly only a handful were ever produced, one of which was sent to Sill).

Personal jokes by their producer were all well and good, but by 1964, following the failure of two consecutive genuine Crystals singles, the group — with Frances Collins replacing Patricia Wright — was no longer interested in working with Spector. The following year they bought out their contract and headed to the seemingly greener pastures of the Imperial label, where they found no success; by that time, the only girl groups that were still competitive in the music marketplace were associated with Motown. By 1966, the Crystals had disbanded, and for five years no one heard anything about the group except in airplay on oldies stations. Spector had even closed down Philles Records, and the resulting unavailability of their records except on the radio only raised the value of the old copies that were out there, and made his periodic reissues of the group’s work that much more prized by fans. Then, in 1971, with the rock & roll revival in full swing, the groupmembers reunited and spent a few years delighting audiences on the oldies circuit. Various incarnations of the group resurfaced every so often in the late ’70s and 1980s, but at the dawn of the 21st century, Dee Dee Kennibrew was still leading a version of the group and had even managed to get them recorded.

Twist Uptown is the first album by The Crystals, issued to capitalise upon their success with the Cynthia Weil and Barry Mann composition “Uptown” which was a #13 US hit, and their first top forty hit “There’s No Other (Like My Baby)” (#20 US). Twist Uptown notably features the first released version of “On Broadway,” a composition written by Cynthia Weil and Barry Mann. The song was later modified by Jerry Leiber and Mike Stoller and became a hit for The Drifters in 1963.

Barbara Alston was The Crystals’ main lead singer at the time, and the only song from this album not to feature her on lead was “Oh Yeah, Maybe Baby” on which Patricia “Patsy” Wright sang lead. During this period, The Crystals appeared as a quintet but this album features the vocals of six Crystals; it contains tracks with original member Myrna Girard as well as Dolores “LaLa” Brooks who was Girard’s permanent replacement by its release. Recording sessions took place mainly at Aldon Music in late 1961 and early 1962.

In 1963, the album was repackaged as He’s a Rebel to benefit from their hit of the same name (although the song was really recorded by The Blossoms) and the two tracks that were omitted were “Please Hurt Me” and “Gee Whiz Look at his Eyes (Twist).”

 

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Bobby Vee – Take Good Care (2005)

Jefferson Airplane ‎– Bless Its Pointed Little Head (Live) (LP 1969)

 

 

 
 
Jefferson Airplane ‎– Bless Its Pointed Little Head (live) (LP RCA Victor ‎– LSP-4133, 1969)
Produção de Al Schmitt
Género: Acid Rock, Rock Psicadélico.
 
Faixas/Tracklist:
A1 Clergy (Jack Casady) 1:32
A2 3/5 Of A Mile In 10 Seconds (Balin) 4:37
A3 Somebody To Love (Slick) 3:46
A4 Fat Angel (Leitch) 7:29
A5 Rock Me Baby (arranjospor Jefferson Airplane, Trad.) 7:40
B1 Other Side Of This Life (Neil) 6:35
B2 It’s No Secret (Balin) 3:22
B3 Plastic Fantastic Lover (Balin) 3:40
B4 Turn Out The Lights (Slick, Casady, Kaukonen, Kantner, Dryden) 0:58
B5 Bear Melt (Slick, Casady, Kaukonen, Kantner, Dryden)m 11:06
Álbum gravado ao vivo no Fillmore East (Nova York, NY) e no Fillmore West (San Francisco, CA), Estados Unidos, em 1968 e lançado em 1969.
Músicos/Members:
Marty Balin – voz e baixo
Jack Casady – guitarra rítmo e baixo
Spencer Dryden – bateria e percussão
Paul Kantner – guitarra rítmo e voz
Jorma Kaukonen – guitarra solo e voz
Grace Slick – vocalista